Alex Kitnick
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9780226753317
- eISBN:
- 9780226753591
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226753591.001.0001
- Subject:
- Society and Culture, Media Studies
Marshall McLuhan is best known as a media theorist but he was also an important theorist of art. Though a near-household name for decades due to magazine interviews and TV specials, McLuhan remains ...
More
Marshall McLuhan is best known as a media theorist but he was also an important theorist of art. Though a near-household name for decades due to magazine interviews and TV specials, McLuhan remains an underappreciated yet fascinating figure in art history. His connections with the art of his own time were largely unexplored, until now. In Distant Early Warning, art historian Alex Kitnick delves into these rich connections and argues both that McLuhan was influenced by art and artists and, more surprisingly, that McLuhan’s work directly influenced the art and artists of his time. Kitnick builds the story of McLuhan’s entanglement with artists by carefully drawing out the connections among McLuhan, his theories, and the artists themselves. The story is packed with big names: Marcel Duchamp, Niki de Saint Phalle, Jasper Johns, Andy Warhol, Nam June Paik, and others. Kitnick masterfully weaves this history with McLuhan’s own words and his provocative ideas about what art is and what artists should do, revealing McLuhan’s influence on the avant-garde through the confluence of art and theory. The illuminating result sheds light on new aspects of McLuhan, showing him not just as a theorist, or an influencer, but as a richly multifaceted figure who, among his many other accolades, affected multiple generations of artists and their works. The book finishes with Kitnick overlaying McLuhan’s ethos onto the state of contemporary and post-internet art.Less
Marshall McLuhan is best known as a media theorist but he was also an important theorist of art. Though a near-household name for decades due to magazine interviews and TV specials, McLuhan remains an underappreciated yet fascinating figure in art history. His connections with the art of his own time were largely unexplored, until now. In Distant Early Warning, art historian Alex Kitnick delves into these rich connections and argues both that McLuhan was influenced by art and artists and, more surprisingly, that McLuhan’s work directly influenced the art and artists of his time. Kitnick builds the story of McLuhan’s entanglement with artists by carefully drawing out the connections among McLuhan, his theories, and the artists themselves. The story is packed with big names: Marcel Duchamp, Niki de Saint Phalle, Jasper Johns, Andy Warhol, Nam June Paik, and others. Kitnick masterfully weaves this history with McLuhan’s own words and his provocative ideas about what art is and what artists should do, revealing McLuhan’s influence on the avant-garde through the confluence of art and theory. The illuminating result sheds light on new aspects of McLuhan, showing him not just as a theorist, or an influencer, but as a richly multifaceted figure who, among his many other accolades, affected multiple generations of artists and their works. The book finishes with Kitnick overlaying McLuhan’s ethos onto the state of contemporary and post-internet art.
Daniel Kane
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231162975
- eISBN:
- 9780231544603
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231162975.001.0001
- Subject:
- Society and Culture, Cultural Studies
During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do ...
More
During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do You Have a Band?", Daniel Kane reads deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem. Kane reveals how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fugs and the Velvet Underground drew on writers as varied as William Blake and Delmore Schwartz for their lyrics. Drawing on a range of archival materials and oral interviews, Kane also shows how and why punk musicians drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry. In bringing together the music and writing of Richard Hell, Patti Smith, and Jim Carroll with readings of poetry by Anne Waldman, Eileen Myles, Ted Berrigan, John Giorno, and Dennis Cooper, Kane provides a fascinating history of this crucial period in postwar American culture and the cultural life of New York City.Less
During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do You Have a Band?", Daniel Kane reads deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem. Kane reveals how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fugs and the Velvet Underground drew on writers as varied as William Blake and Delmore Schwartz for their lyrics. Drawing on a range of archival materials and oral interviews, Kane also shows how and why punk musicians drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry. In bringing together the music and writing of Richard Hell, Patti Smith, and Jim Carroll with readings of poetry by Anne Waldman, Eileen Myles, Ted Berrigan, John Giorno, and Dennis Cooper, Kane provides a fascinating history of this crucial period in postwar American culture and the cultural life of New York City.
Hiram Pérez
- Published in print:
- 2007
- Published Online:
- May 2016
- ISBN:
- 9781479818655
- eISBN:
- 9781479846757
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479818655.003.0005
- Subject:
- Society and Culture, Gay and Lesbian Studies
Expanding on the notion of the primal “brown body” mediating gay modernity, this chapter argues that this brown body (frequently, though not exclusively, embodied as “Latino”) mediates gay male ...
More
Expanding on the notion of the primal “brown body” mediating gay modernity, this chapter argues that this brown body (frequently, though not exclusively, embodied as “Latino”) mediates gay male shame. Andy Warhol’s film, Screen Test #2, Douglas Crimp’s essay on that film, “Mario Montez, For Shame,” and the “Gay Shame” conference held at the University of Michigan in 2003, which opened with a showing of the Warhol film, provide the primary texts for analysis. Crimp (and “Gay Shame” by extension) deploys monolithic constructions of “Puerto Rican” and “Catholic” in order to project and universalize (the urbane, white gay man’s) shame onto Montez’s othered (or browned) body. The chapter argues that Montez, rather than merely providing the passive object of Warhol’s experiments in camera-technique and exposure, skillfully pirates the film’s authority in ways that remain illegible to Crimp’s construction of gay shame.Less
Expanding on the notion of the primal “brown body” mediating gay modernity, this chapter argues that this brown body (frequently, though not exclusively, embodied as “Latino”) mediates gay male shame. Andy Warhol’s film, Screen Test #2, Douglas Crimp’s essay on that film, “Mario Montez, For Shame,” and the “Gay Shame” conference held at the University of Michigan in 2003, which opened with a showing of the Warhol film, provide the primary texts for analysis. Crimp (and “Gay Shame” by extension) deploys monolithic constructions of “Puerto Rican” and “Catholic” in order to project and universalize (the urbane, white gay man’s) shame onto Montez’s othered (or browned) body. The chapter argues that Montez, rather than merely providing the passive object of Warhol’s experiments in camera-technique and exposure, skillfully pirates the film’s authority in ways that remain illegible to Crimp’s construction of gay shame.
Alex Kitnick
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9780226753317
- eISBN:
- 9780226753591
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226753591.003.0004
- Subject:
- Society and Culture, Media Studies
This chapter examines McLuhan's writing on light and electricity and analyzes it alongside contemporary artists' writing on similar topics, especially Robert Rauschenberg. The author unpacks what ...
More
This chapter examines McLuhan's writing on light and electricity and analyzes it alongside contemporary artists' writing on similar topics, especially Robert Rauschenberg. The author unpacks what thinkers such as these meant by turning to light and electricity as a metaphor with which to express what art could and should do, as well as media's place and effect in society. The chapter also includes an analysis of McLuhan's writing on Pop Art (most notably, Andy Warhol).Less
This chapter examines McLuhan's writing on light and electricity and analyzes it alongside contemporary artists' writing on similar topics, especially Robert Rauschenberg. The author unpacks what thinkers such as these meant by turning to light and electricity as a metaphor with which to express what art could and should do, as well as media's place and effect in society. The chapter also includes an analysis of McLuhan's writing on Pop Art (most notably, Andy Warhol).
Alex Kitnick
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9780226753317
- eISBN:
- 9780226753591
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226753591.003.0006
- Subject:
- Society and Culture, Media Studies
This chapter focuses on McLuhan's concept of "massage," which he understood to mean a form of mass media manipulation. Specifically, it focuses on his record, The Medium Is the Massage (1967). The ...
More
This chapter focuses on McLuhan's concept of "massage," which he understood to mean a form of mass media manipulation. Specifically, it focuses on his record, The Medium Is the Massage (1967). The chapter also draws analogies between McLuhan's writing and work and the phenomenon of the "happening" in the case of artists including Andy Warhol and Allan Kaprow, and other multimedia spectacles. Other artists discussed include Claes Oldenburg and his own implementation of the "massage" concept.Less
This chapter focuses on McLuhan's concept of "massage," which he understood to mean a form of mass media manipulation. Specifically, it focuses on his record, The Medium Is the Massage (1967). The chapter also draws analogies between McLuhan's writing and work and the phenomenon of the "happening" in the case of artists including Andy Warhol and Allan Kaprow, and other multimedia spectacles. Other artists discussed include Claes Oldenburg and his own implementation of the "massage" concept.
Christopher Gair
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748619887
- eISBN:
- 9780748671137
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748619887.003.0010
- Subject:
- History, American History: 20th Century
Unlike the chapter on art in section one, this chapter focuses on figures who do not generally feature in accounts of the history of American Art. It commences with a look at the role of artists ...
More
Unlike the chapter on art in section one, this chapter focuses on figures who do not generally feature in accounts of the history of American Art. It commences with a look at the role of artists operating around Haight-Ashbury and at the importance of posters for psychedelic rock concerts and at album cover artwork. It then assesses more overtly political West Coast art, such as the ‘Peace Tower’ erected in LA in 1966, before returning to New York and Andy Warhol’s Factory.Less
Unlike the chapter on art in section one, this chapter focuses on figures who do not generally feature in accounts of the history of American Art. It commences with a look at the role of artists operating around Haight-Ashbury and at the importance of posters for psychedelic rock concerts and at album cover artwork. It then assesses more overtly political West Coast art, such as the ‘Peace Tower’ erected in LA in 1966, before returning to New York and Andy Warhol’s Factory.
Tina Rivers Ryanp
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780199782185
- eISBN:
- 9780199395583
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199782185.003.0015
- Subject:
- Philosophy, History of Philosophy
One of the central assumptions of Western art is that the artist is the efficient cause of the work of art. One source of this idea is the Renaissance sculptor Michelangelo, who famously refused to ...
More
One of the central assumptions of Western art is that the artist is the efficient cause of the work of art. One source of this idea is the Renaissance sculptor Michelangelo, who famously refused to work with assistants, contributing to a conception of art making that has remained hegemonic for centuries. A major challenge arose in the twentieth century, particularly when Duchamp emphasized the role of the viewer (and chance processes) in the determination of the work’s ultimate form and meaning. Duchamp’s ideas were popularized by Warhol, who claimed to want to efface himself entirely from the artistic process. Though the attempt by successive generations of artists to distance themselves from their work is one of the major stories of twentieth-century art, the art market today undermines this attempt by fetishizing the artist’s name as guarantee of a work’s quality.Less
One of the central assumptions of Western art is that the artist is the efficient cause of the work of art. One source of this idea is the Renaissance sculptor Michelangelo, who famously refused to work with assistants, contributing to a conception of art making that has remained hegemonic for centuries. A major challenge arose in the twentieth century, particularly when Duchamp emphasized the role of the viewer (and chance processes) in the determination of the work’s ultimate form and meaning. Duchamp’s ideas were popularized by Warhol, who claimed to want to efface himself entirely from the artistic process. Though the attempt by successive generations of artists to distance themselves from their work is one of the major stories of twentieth-century art, the art market today undermines this attempt by fetishizing the artist’s name as guarantee of a work’s quality.
Peter Knight
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748624102
- eISBN:
- 9780748671199
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748624102.003.0007
- Subject:
- History, American History: 20th Century
The story of the Kennedy assassination is inseparable from the mass production and consumption of illusory images in postwar American politics and culture, not least because the Camelot White House ...
More
The story of the Kennedy assassination is inseparable from the mass production and consumption of illusory images in postwar American politics and culture, not least because the Camelot White House pioneered the careful cultivation of a media image in which style seemed to replace substance. Numerous iconic images of the assassination and its aftermath have engrained themselves into the contemporary American imagination, from the Zapruder footage to John Kennedy Jr's salute of his father's coffin at the funeral, and from Oswald's death ‘live’ on television to bootlegged copies of Kennedy's autopsy photos. In addition to the snapshots and home movie clips captured by amateur and professional photographers on the day, the iconography of the assassination has fascinated numerous avant-garde artists, most notably Andy Warhol. Having looked at these accidental and avant-garde representations, this chapter discusses the repeated shootings of the assassination in Hollywood films, in particular Blow-Up (1966), The Parallax View (1974), Blow Out (1981), and JFK (1991), all of which are notable for their sophisticated visual and cinematic techniques.Less
The story of the Kennedy assassination is inseparable from the mass production and consumption of illusory images in postwar American politics and culture, not least because the Camelot White House pioneered the careful cultivation of a media image in which style seemed to replace substance. Numerous iconic images of the assassination and its aftermath have engrained themselves into the contemporary American imagination, from the Zapruder footage to John Kennedy Jr's salute of his father's coffin at the funeral, and from Oswald's death ‘live’ on television to bootlegged copies of Kennedy's autopsy photos. In addition to the snapshots and home movie clips captured by amateur and professional photographers on the day, the iconography of the assassination has fascinated numerous avant-garde artists, most notably Andy Warhol. Having looked at these accidental and avant-garde representations, this chapter discusses the repeated shootings of the assassination in Hollywood films, in particular Blow-Up (1966), The Parallax View (1974), Blow Out (1981), and JFK (1991), all of which are notable for their sophisticated visual and cinematic techniques.
Craig Dworkin
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780226743424
- eISBN:
- 9780226743738
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226743738.003.0007
- Subject:
- Literature, American, 20th Century Literature
The final chapter reads the wildly irregular, typographically idiosyncratic prose pages of Andy Warhol’s notorious a: a novel. Ostensibly the direct, unartificed transcript of a day in the life of ...
More
The final chapter reads the wildly irregular, typographically idiosyncratic prose pages of Andy Warhol’s notorious a: a novel. Ostensibly the direct, unartificed transcript of a day in the life of Factory regulars, the text was in fact roughly spliced and subjected to various stages of intentional irregularities. The resulting book, a radically indeterminate, unstable work, again allows for a revealing glimpse of the moments when material substrate and narrated description short-circuit, as the various technologies of inscription record their own act of recording as well as the loquacious banter of the protagonists, culminating unexpectedly in an evocation of precisely the same instance in one of John Cage’s texts. At the same time, the novel’s radical artifice and semiotic indeterminacy highlight the ways in which common words can engage in acts of nomination and, conversely, proper nouns must enter into the play of the signifier. In addition to Warhol’s own name, the name of Maria Callas plays a leading role in the themes and vocabulary of the novel, making her not only a leading character but also suggesting that she may be the encrypted subject of Warhol’s electric chair paintings, making them lost portraits in his extensive celebrity oeuvre.Less
The final chapter reads the wildly irregular, typographically idiosyncratic prose pages of Andy Warhol’s notorious a: a novel. Ostensibly the direct, unartificed transcript of a day in the life of Factory regulars, the text was in fact roughly spliced and subjected to various stages of intentional irregularities. The resulting book, a radically indeterminate, unstable work, again allows for a revealing glimpse of the moments when material substrate and narrated description short-circuit, as the various technologies of inscription record their own act of recording as well as the loquacious banter of the protagonists, culminating unexpectedly in an evocation of precisely the same instance in one of John Cage’s texts. At the same time, the novel’s radical artifice and semiotic indeterminacy highlight the ways in which common words can engage in acts of nomination and, conversely, proper nouns must enter into the play of the signifier. In addition to Warhol’s own name, the name of Maria Callas plays a leading role in the themes and vocabulary of the novel, making her not only a leading character but also suggesting that she may be the encrypted subject of Warhol’s electric chair paintings, making them lost portraits in his extensive celebrity oeuvre.
Alva Noë
- Published in print:
- 2022
- Published Online:
- January 2022
- ISBN:
- 9780190928216
- eISBN:
- 9780197601136
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190928216.003.0001
- Subject:
- Philosophy, Aesthetics
This chapter discusses the Andy Warhol exhibition at New York's Museum of Modern Art in 2015. In particular, it provides commentary on Warhol's Campbell's soup can paintings. First painted and shown ...
More
This chapter discusses the Andy Warhol exhibition at New York's Museum of Modern Art in 2015. In particular, it provides commentary on Warhol's Campbell's soup can paintings. First painted and shown in 1962, in Los Angeles, the thirty-two paintings have seldom been brought together for display. Warhol worked not from actual cans with actual labels but from promotional materials that Campbell's sent out. In other words, these are not so much pictures of either cans or labels as they are reproductions or copies of the commercial graphics itself, blending design and text. At least part of what is put on display, part of what is exhibited in a condensed form, is this distinctive and recognizable form of collector's mentality. Warhol is putting the human mind, or at least one of its species, on exhibition. It is not about soup cans; it is not about pop culture. It is about us.Less
This chapter discusses the Andy Warhol exhibition at New York's Museum of Modern Art in 2015. In particular, it provides commentary on Warhol's Campbell's soup can paintings. First painted and shown in 1962, in Los Angeles, the thirty-two paintings have seldom been brought together for display. Warhol worked not from actual cans with actual labels but from promotional materials that Campbell's sent out. In other words, these are not so much pictures of either cans or labels as they are reproductions or copies of the commercial graphics itself, blending design and text. At least part of what is put on display, part of what is exhibited in a condensed form, is this distinctive and recognizable form of collector's mentality. Warhol is putting the human mind, or at least one of its species, on exhibition. It is not about soup cans; it is not about pop culture. It is about us.
Ellen Willis
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816680795
- eISBN:
- 9781452949000
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816680795.003.0020
- Subject:
- Society and Culture, Cultural Studies
This chapter presents an obituary of Andy Warhol, a leading figure in the visual art movement known as Pop Art, who was shot in 1968 by radical feminist writer Valerie Solanas. Warhol was arguably ...
More
This chapter presents an obituary of Andy Warhol, a leading figure in the visual art movement known as Pop Art, who was shot in 1968 by radical feminist writer Valerie Solanas. Warhol was arguably more responsible than anyone else for obliterating the line between the avant-garde and mass art. As it happened, the shooting of Warhol had a political dimension, at least in Solanas’s mind. A couple of Warhol’s obituaries solemnly refer to Solanas as a member of a group called S.C.U.M., or Society for Cutting Up Men. Warhol, who once said “I like my paintings because anyone can do them,” died in 1987.Less
This chapter presents an obituary of Andy Warhol, a leading figure in the visual art movement known as Pop Art, who was shot in 1968 by radical feminist writer Valerie Solanas. Warhol was arguably more responsible than anyone else for obliterating the line between the avant-garde and mass art. As it happened, the shooting of Warhol had a political dimension, at least in Solanas’s mind. A couple of Warhol’s obituaries solemnly refer to Solanas as a member of a group called S.C.U.M., or Society for Cutting Up Men. Warhol, who once said “I like my paintings because anyone can do them,” died in 1987.
Steve Redhead
- Published in print:
- 2008
- Published Online:
- September 2012
- ISBN:
- 9780748627882
- eISBN:
- 9780748671182
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748627882.003.0002
- Subject:
- Society and Culture, Media Studies
This chapter is an extract from Baudrillard’s The Consumer Society, with an editorial overview
This chapter is an extract from Baudrillard’s The Consumer Society, with an editorial overview
Noël Carroll
- Published in print:
- 2021
- Published Online:
- August 2021
- ISBN:
- 9780190683306
- eISBN:
- 9780190683337
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190683306.003.0006
- Subject:
- Philosophy, Aesthetics
This chapter provides an interpretation of Andy Warhol’s eight-hour film Empire which excavates some of the philosophical themes that film advances in a way that can be considered to be an instance ...
More
This chapter provides an interpretation of Andy Warhol’s eight-hour film Empire which excavates some of the philosophical themes that film advances in a way that can be considered to be an instance of movie made philosophy.Less
This chapter provides an interpretation of Andy Warhol’s eight-hour film Empire which excavates some of the philosophical themes that film advances in a way that can be considered to be an instance of movie made philosophy.
Scott MacDonald
- Published in print:
- 2019
- Published Online:
- August 2019
- ISBN:
- 9780190052126
- eISBN:
- 9780190052164
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190052126.003.0019
- Subject:
- Literature, Film, Media, and Cultural Studies
James Benning’s turn from 16mm filmmaking to digital filmmaking after his RR (2007) released the already prolific Benning from his struggles with 16mm film projection and print damage and unleashed a ...
More
James Benning’s turn from 16mm filmmaking to digital filmmaking after his RR (2007) released the already prolific Benning from his struggles with 16mm film projection and print damage and unleashed a new wave of digital productivity. This interview explores Benning’s many digital films, including the several films that are part of his Two Cabins project (focusing on the cabins, lives, and writings of Henry David Thoreau and Ted Kaczynski), his Warhol-inspired portrait films—After Warhol (2011), Twenty Cigarettes (2011)—his three-hour-plus “single-shot” film, BNSF (2012), his cine-exploration of Vienna’s Naturhistorischesmuseum, and his personal epic, 52 Films (2015), an adventure into modifying a broad range of online postings from the internet—originally designed to be presented on fifty-two computers, but so far, shown mostly as interactive screenings with Benning present.Less
James Benning’s turn from 16mm filmmaking to digital filmmaking after his RR (2007) released the already prolific Benning from his struggles with 16mm film projection and print damage and unleashed a new wave of digital productivity. This interview explores Benning’s many digital films, including the several films that are part of his Two Cabins project (focusing on the cabins, lives, and writings of Henry David Thoreau and Ted Kaczynski), his Warhol-inspired portrait films—After Warhol (2011), Twenty Cigarettes (2011)—his three-hour-plus “single-shot” film, BNSF (2012), his cine-exploration of Vienna’s Naturhistorischesmuseum, and his personal epic, 52 Films (2015), an adventure into modifying a broad range of online postings from the internet—originally designed to be presented on fifty-two computers, but so far, shown mostly as interactive screenings with Benning present.
Paisid Aramphongphan
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781526148438
- eISBN:
- 9781526166494
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526148445.00011
- Subject:
- Art, Art History
As with Smith’s case, this chapter demonstrates the centrality of dance and queer culture in Warhol’s artistic formation during his breakthrough years in the early 1960s. In order to tell this story, ...
More
As with Smith’s case, this chapter demonstrates the centrality of dance and queer culture in Warhol’s artistic formation during his breakthrough years in the early 1960s. In order to tell this story, I bring into relief his contemporaneous dance world through the figure of dancer/choreographer Fred Herko at the pioneering Judson Dance Theater—and his queer social/artistic circle centering around the so-called “A-Men” (A for amphetamine). Tracing the historical links between the Theater and Warhol’s Factory, this chapter proposes another line of horizontal connection, bringing together two key sites of 1960s art that are rarely discussed under the same breath. Their overlap—and the creative thriving that it enabled—is what this twin-pronged approach clarifies, with the queer social network and refusal of (straight) artistic professionalization providing the connective tissue.Less
As with Smith’s case, this chapter demonstrates the centrality of dance and queer culture in Warhol’s artistic formation during his breakthrough years in the early 1960s. In order to tell this story, I bring into relief his contemporaneous dance world through the figure of dancer/choreographer Fred Herko at the pioneering Judson Dance Theater—and his queer social/artistic circle centering around the so-called “A-Men” (A for amphetamine). Tracing the historical links between the Theater and Warhol’s Factory, this chapter proposes another line of horizontal connection, bringing together two key sites of 1960s art that are rarely discussed under the same breath. Their overlap—and the creative thriving that it enabled—is what this twin-pronged approach clarifies, with the queer social network and refusal of (straight) artistic professionalization providing the connective tissue.
Daniel Kane
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231162975
- eISBN:
- 9780231544603
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231162975.003.0003
- Subject:
- Society and Culture, Cultural Studies
This chapter analyzes the ways in which Lou Reed’s vision of himself as a writer informed his music and lyrics for the Velvet Underground and his solo career. I track how Reed’s engagement with Andy ...
More
This chapter analyzes the ways in which Lou Reed’s vision of himself as a writer informed his music and lyrics for the Velvet Underground and his solo career. I track how Reed’s engagement with Andy Warhol and the New York School of poets complicated and troubled his otherwise relatively traditional views of the Poet as oracular figure. The chapter pays special attention to Reed’s stories and poems published in his collegiate-era mimeographed journal Lonely Woman Quarterly, analyzing how these works ultimately fed into Reed’s music and lyrics in the 1960s, 70s, and 80s. Mixing a world-weary, vernacular tone with bursts of inspired disjunction, or interrupting a straightforward narrative with Joycean free-association, Reed used the journal to sketch the personae that were to prove obstinate presences throughout his career. Reed’s porn-freaks, alcoholics, suburbanite wannabees, drag queens, hustlers, and junkies all got their start at Syracuse University, accompanying Reed on his journey from Lewis to Louis to Luis and, ultimately, Lou.Less
This chapter analyzes the ways in which Lou Reed’s vision of himself as a writer informed his music and lyrics for the Velvet Underground and his solo career. I track how Reed’s engagement with Andy Warhol and the New York School of poets complicated and troubled his otherwise relatively traditional views of the Poet as oracular figure. The chapter pays special attention to Reed’s stories and poems published in his collegiate-era mimeographed journal Lonely Woman Quarterly, analyzing how these works ultimately fed into Reed’s music and lyrics in the 1960s, 70s, and 80s. Mixing a world-weary, vernacular tone with bursts of inspired disjunction, or interrupting a straightforward narrative with Joycean free-association, Reed used the journal to sketch the personae that were to prove obstinate presences throughout his career. Reed’s porn-freaks, alcoholics, suburbanite wannabees, drag queens, hustlers, and junkies all got their start at Syracuse University, accompanying Reed on his journey from Lewis to Louis to Luis and, ultimately, Lou.
Gabriella Giannachi
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262035293
- eISBN:
- 9780262335416
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035293.003.0005
- Subject:
- Society and Culture, Media Studies
This Chapter explores how archival methodologies have been used, especially after the 1930s, to generate environmental or process-led artworks and how art has influenced our understanding of what ...
More
This Chapter explores how archival methodologies have been used, especially after the 1930s, to generate environmental or process-led artworks and how art has influenced our understanding of what constitutes an archive. The Chapter looks at practices of accumulation, collection and curation, focusing in particular on the cabinet of curiosity to show how, among other cultures of collection and exhibition, it acts as a predecessor to archival art, including a number of time capsules. The Chapter also shows how the cabinet acted as predecessor to how we present, document and archive ourselves through social media today. The apparatus of the archive is presented as the main tool we use to frame, preserve, disseminate, and aestheticize our lives, showing how we increasingly act as citizen archivists. The case studies for this chapter include works by Michel Duchamp; Robert Morris; Andy Warhol; Ant Farm and sosolimited.Less
This Chapter explores how archival methodologies have been used, especially after the 1930s, to generate environmental or process-led artworks and how art has influenced our understanding of what constitutes an archive. The Chapter looks at practices of accumulation, collection and curation, focusing in particular on the cabinet of curiosity to show how, among other cultures of collection and exhibition, it acts as a predecessor to archival art, including a number of time capsules. The Chapter also shows how the cabinet acted as predecessor to how we present, document and archive ourselves through social media today. The apparatus of the archive is presented as the main tool we use to frame, preserve, disseminate, and aestheticize our lives, showing how we increasingly act as citizen archivists. The case studies for this chapter include works by Michel Duchamp; Robert Morris; Andy Warhol; Ant Farm and sosolimited.
Scott Herring
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780226171685
- eISBN:
- 9780226171852
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226171852.003.0003
- Subject:
- Society and Culture, Cultural Studies
This chapter considers the cultural role that collectibles and their deviations play in the historical development of hoarding as a mental illness. It notes that scientists often refer to hoarding as ...
More
This chapter considers the cultural role that collectibles and their deviations play in the historical development of hoarding as a mental illness. It notes that scientists often refer to hoarding as pathological or abnormal collecting, and it argues that the modern activity of normal collecting contributed to this diagnostic. To do so the chapter first presents a brief history of antiques and collectibles in America and it details how inexpensive price guides by individuals such as Ralph and Terry Kovel promoted interest in this activity. Turning to Andy Warhol and his many collectibles, the chapter then traces how fears of hoarding upset this leisure activity of ordinary collecting. It uses Warhol’s belongings to confirm this cultural history by looking at Sotheby’s 1987 auction of his collectibles and then his Time Capsules, containers filled with thousands of his personal effects archived at The Andy Warhol Museum.Less
This chapter considers the cultural role that collectibles and their deviations play in the historical development of hoarding as a mental illness. It notes that scientists often refer to hoarding as pathological or abnormal collecting, and it argues that the modern activity of normal collecting contributed to this diagnostic. To do so the chapter first presents a brief history of antiques and collectibles in America and it details how inexpensive price guides by individuals such as Ralph and Terry Kovel promoted interest in this activity. Turning to Andy Warhol and his many collectibles, the chapter then traces how fears of hoarding upset this leisure activity of ordinary collecting. It uses Warhol’s belongings to confirm this cultural history by looking at Sotheby’s 1987 auction of his collectibles and then his Time Capsules, containers filled with thousands of his personal effects archived at The Andy Warhol Museum.
Gian Maria Annovi
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231180306
- eISBN:
- 9780231542708
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231180306.003.0004
- Subject:
- Literature, 20th-century Literature and Modernism
Chapter Three discusses the conditions for the strategic branding of Pasolini’s authorship in the Italian media during the 60s, and his attitude to celebrity culture. In this chapter, I consider the ...
More
Chapter Three discusses the conditions for the strategic branding of Pasolini’s authorship in the Italian media during the 60s, and his attitude to celebrity culture. In this chapter, I consider the idea of performing authorship in the terms of self-fictionalization and masquerade. In particular, in his short film La ricotta (The Ricotta, 1964), which represents the first example of the spectacularization of Pasolini’s authorship, he projects his authorial self onto the figure of American star director Orson Welles. An outsider of the studio system, Welles furnishes Pasolini a model for an auteur who persistently seeks out a performative mode, putting himself in play as the author alongside the other characters. At the same time, through the figure of this star director, Pasolini also expresses his uncompromising attitude toward celebrity culture and culture industry. In La rabbia (The Rage, 1963)—created through montages of unused film footage from a film archive—Pasolini uses another international star, Marilyn Monroe, to stage his ambivalence towards the role of his own representation in the media. For Pasolini, Monroe’s death becomes a tragic, symbolic form of subjective resistance and a protest against the conformist system of celebrity that they both confronted.Less
Chapter Three discusses the conditions for the strategic branding of Pasolini’s authorship in the Italian media during the 60s, and his attitude to celebrity culture. In this chapter, I consider the idea of performing authorship in the terms of self-fictionalization and masquerade. In particular, in his short film La ricotta (The Ricotta, 1964), which represents the first example of the spectacularization of Pasolini’s authorship, he projects his authorial self onto the figure of American star director Orson Welles. An outsider of the studio system, Welles furnishes Pasolini a model for an auteur who persistently seeks out a performative mode, putting himself in play as the author alongside the other characters. At the same time, through the figure of this star director, Pasolini also expresses his uncompromising attitude toward celebrity culture and culture industry. In La rabbia (The Rage, 1963)—created through montages of unused film footage from a film archive—Pasolini uses another international star, Marilyn Monroe, to stage his ambivalence towards the role of his own representation in the media. For Pasolini, Monroe’s death becomes a tragic, symbolic form of subjective resistance and a protest against the conformist system of celebrity that they both confronted.
Kristine Stiles
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780226774510
- eISBN:
- 9780226304403
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226304403.003.0019
- Subject:
- Art, Art Theory and Criticism
This chapter examines Andy Warhol's foresight regarding the demise of cultural conventions, augmented by the ubiquity of capitalism, advertising, and technology. Many in the 1960s dismissed Warhol as ...
More
This chapter examines Andy Warhol's foresight regarding the demise of cultural conventions, augmented by the ubiquity of capitalism, advertising, and technology. Many in the 1960s dismissed Warhol as a mere product of Madison Avenue advertising and capitalism. Rainer Crone attempted to right this perception, insisting that Warhol had “revolutionized traditional aesthetics” by uniting silkscreen, painting, and photography. By contrast, Steven Koch presented Warhol as the cruel and poignant icon in his 1973 book Stargazer: Andy Warhol's World and His Films. In 1996, Hal Foster published “Death in America,” which extended his reading of Warhol's traumatic imagery to a broader analysis of art. Beginning with his oft-repeated question “What?” the chapter analyzes Warhol's behavior and argues that it is not a “performance” but a performative manifestation of traumatic subjectivity. It also considers Warhol's views on Americans and the United States, along with his reproduction of shadows in his works.Less
This chapter examines Andy Warhol's foresight regarding the demise of cultural conventions, augmented by the ubiquity of capitalism, advertising, and technology. Many in the 1960s dismissed Warhol as a mere product of Madison Avenue advertising and capitalism. Rainer Crone attempted to right this perception, insisting that Warhol had “revolutionized traditional aesthetics” by uniting silkscreen, painting, and photography. By contrast, Steven Koch presented Warhol as the cruel and poignant icon in his 1973 book Stargazer: Andy Warhol's World and His Films. In 1996, Hal Foster published “Death in America,” which extended his reading of Warhol's traumatic imagery to a broader analysis of art. Beginning with his oft-repeated question “What?” the chapter analyzes Warhol's behavior and argues that it is not a “performance” but a performative manifestation of traumatic subjectivity. It also considers Warhol's views on Americans and the United States, along with his reproduction of shadows in his works.
